Transcript
8/17/2019 Access Music Indigo Guide
1/83
Version 9.0
Access Music Virus IndigoPlug-In Guide
8/17/2019 Access Music Indigo Guide
2/83
Legal Notices
This guide is copyrighted ©2010 by Avid Technology, Inc.,(hereafter “Avid”), with all rights reserved. Under copyrightlaws, this guide may not be duplicated in whole or in partwithout the written consent of Avid.
003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O,882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite,Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS,Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory,Bruno, C|24, Command|8, Control|24, D-Command, D-Control,D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase,DigiDelivery, Digidesign, Digidesign Audio Engine, DigidesignIntelligent Noise Reduction, Digidesign TDM Bus, DigiDrive,DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack,
Eleven, EUCON, HD Core, HD Process, Hybrid, Impact,Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox,MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF,OMF Interchange, PRE, ProControl, Pro Tools M-Powered,Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi,Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,Smack!, SoundReplacer, Sound Designer II, Strike, Structure,SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan,TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune,TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser,Trillium Lane Labs, Vari-Fi, Velvet, X-Form, and XMON are
trademarks or registered trademarks of Avid Technology, Inc.Xpand! is Registered in the U.S. Patent and Trademark Office.All other trademarks are the property of their respectiveowners.
Product features, specifications, system requirements, andavailability are subject to change without notice.
Guide Part Number 9329-65041-00 REV A 9/10
Documentation Feedback
At Avid, we are always looking for ways to improve ourdocumentation. If you have comments, corrections, orsuggestions regarding our documentation, email us attechpubs@avid.com.
8/17/2019 Access Music Indigo Guide
3/83
Contents iii
contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Virus Indigo Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Registering Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Working with Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter 2. Installation and Authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Installing Plug-Ins for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Authorizing Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Removing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Configuring MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Chapter 3. Virus Indigo Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9A Synthesis Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Viewing Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Adjusting Plug-In Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Easy Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
The Osc Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
The Filter/Env Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16The LFO Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The FX-1 Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
The FX-2/Global Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The ModMatrix Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
8/17/2019 Access Music Indigo Guide
4/83
Access Music Virus Indigo Plug-In Guideiv
Chapter 4. Automating Virus Indigo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Using Automation Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Using MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Viewing MIDI Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Using Virus Hardware as a Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Chapter 5. Virus Indigo Tutorials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Creating New Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Tutorial 1: Waveforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Tutorial 2: Oscillator 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Tutorial 3: Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Tutorial 4: Amplifier and Filter Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Tutorial 5: Using the LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Tutorial 6: Virus Indigo Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Using the Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Using Virus Indigo as a Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using the Envelope Follower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Sharing a Single Delay Among Multiple Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Appendix A. DSP Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Virus Indigo DSP Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Appendix B. DSP Delays Incurred by TDM Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Virus Indigo DSP Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Appendix C. Virus Indigo Oscillator Waveforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Appendix D. Virus Indigo Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
8/17/2019 Access Music Indigo Guide
5/83
Chapter 1: Introduction 1
chapter 1
Introduction
Thank you for purchasing Access Music VirusIndigo, a real-time TDM plug-in version of
Access Music’s highly-acclaimed Virus Indigo
synthesizer.
Virus Indigo creates its sounds through analog
modeling. This technique uses DSP algorithms to
reproduce the sound and performance charac-
teristics of analog synthesizers. The sonic resultsare virtually indistinguishable from the classic
ARP, Moog, and Oberheim synthesizers of the
70s. Virus Indigo for Pro Tools|HD® provides
power and flexibility far beyond these instru-
ments.
Virus Indigo Features
• Analog synthesis with FM (frequency mod-
ulation) and wave shaping
• Three oscillators per voice
• Sub oscillator
• Noise generator with white and pink noise
• Dual multimode filters (low-pass, high-
pass, band-pass, and band-reject)
• Vocoder
• Arpeggiator
• Two ring modulators
• Matrix modulation
• Chorus, phaser, reverb, and delay effects• External input processing
• Polyphonic
• Multitimbral (eight parts per DSP)
In this guide, references to Virus Indigo also
include Virus IndigoV40. Differences be-
tween Virus Indigo and Virus IndigoV40
are noted where applicable. For more infor-
mation, see “Virus Indigo and Virus
IndigoV40” on page 2
8/17/2019 Access Music Indigo Guide
6/83
Access Music Virus Indigo Plug-In Guide2
Virus Indigo and Virus IndigoV40
Access Music Virus Indigo is available in two
modules, the standard Virus Indigo 20-voice
module (all qualified Pro Tools|HD systems),
and the Virus IndigoV40 40-voice module
(Pro Tools|HD Accel systems only).
System Requirements
To use Virus Indigo, you need the following:
• An iLok USB Smart Key
• An iLok.com account for managing iLok li-
censes
• A qualified Pro Tools|HD system.
To use Virus IndigoV40, you need the following:
• An iLok USB Smart Key
• An iLok.com account for managing iLok li-
censes
• A qualified Pro Tools|HD system, with one or
more HD Accel cards.
Avid can only assure compatibility and provide
support for hardware and software it has tested
and approved.
For complete system requirements and a list of
qualified computers, operating systems, hard
drives, and third-party devices, visit:
www.avid.com/compatibility
Pro Tools|HD Accel systems provide 40 Vi-
rus IndigoV40 voices per plug-in at
44.1/48 kHz session sample rates, or 20
voices per plug-in at 88.2/96 kHz sessionsample rates.
Pro Tools|HD (and Pro Tools|HD Accel)
systems provide 20 Virus Indigo voices per
plug-in at 44.1/48 kHz session sample
rates, or 10 voices per plug-in at
88.2/96 kHz session sample rates.
For additional information, refer to
Appendix A, “DSP Requirements.”
Virus IndigoV40 can read patches created
with Virus Indigo, or the original Virus 1.0
plug-in. However, Virus Indigo and Virus
1.0 cannot read Virus IndigoV40 presetsdue to their expanded parameters, function-
ality, and format.
8/17/2019 Access Music Indigo Guide
7/83
Chapter 1: Introduction 3
Registering Plug-Ins
Your plug-in purchase is automatically regis-
tered when you activate your iLok license (see“Authorizing Plug-Ins” on page 6).
Registered users are eligible to receive software
update and upgrade notices.
For information on technical support, visit
www.avid.com.
Working with Plug-Ins
See the Pro Tools Reference Guide for general
information on working with plug-ins in
Pro Tools®, including:
• Inserting plug-ins on tracks• Using clip indicators
• Navigating the Plug-In window
• Adjusting plug-in controls
• Automating plug-ins
• Monitoring and recording audio from
instrument plug-ins
• Using plug-in presets
Conventions Used in ThisGuide
All Pro Tools guides use the following conven-tions to indicate menu choices and key
commands::
The names of Commands, Options, and Settings
that appear on-screen are in a different font.
The following symbols are used to highlight
important information:
Convention Action
File > Save Choose Save from theFile menu
Control+N Hold down the Control keyand press the N key
Control-click Hold down the Control keyand click the mouse button
Right-click Click with the rightmouse button
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
this guide and other Pro Tools guides.
8/17/2019 Access Music Indigo Guide
8/83
Access Music Virus Indigo Plug-In Guide4
About www.avid.com
The Avid website (www.avid.com) is your best
online source for information to help you getthe most out of your Pro Tools system. The fol-
lowing are just a few of the services and features
available.
Product Registration Register your purchase
online.
Support and Downloads Contact Avid CustomerSuccess (technical support); download software
updates and the latest online manuals; browse
the Compatibility documents for system re-
quirements; search the online Knowledge Base
or join the worldwide Pro Tools community on
the User Conference.
Training and Education Study on your own usingcourses available online or find out how you can
learn in a classroom setting at a certified
Pro Tools training center.
Products and Developers Learn about Avid prod-
ucts; download demo software or learn about
our Development Partners and their plug-ins,
applications, and hardware.
News and Events Get the latest news from Avid
or sign up for a Pro Tools demo.
8/17/2019 Access Music Indigo Guide
9/83
Chapter 2: Installation and Authorization 5
chapter 2
Installation and Authorization
Installing Plug-Ins forPro Tools
Installers for your plug-ins can be downloaded
from the Avid Store (http://shop.avid.com) or
can be found on the plug-in installer disc (in-
cluded with boxed versions of plug-ins).
An installer may also be available on the
Pro Tools installer disc or on a software bundle
installer disc.
To install a plug-in:
1 Do one of the following:
• Download the installer for your computer
platform from www.avid.com. After down-
loading, make sure the installer is uncom-
pressed (.dmg on Mac or .ZIP on Windows).
– or –
• Insert the Installer disc into your computer.
2 Double-click the plug-in installer application.
3 Follow the on-screen instructions to complete
the installation.
4 When installation is complete, click Finish
(Windows) or Quit (Mac).
When you launch Pro Tools, you are prompted
to authorize your new plug-in.
8/17/2019 Access Music Indigo Guide
10/83
Access Music Virus Indigo Plug-In Guide6
Authorizing Plug-Ins
Software is authorized using the iLok USB Smart
Key (iLok), manufactured by PACE Anti-Piracy.
An iLok can hold hundreds of licenses for all of
your iLok-enabled software. Once a license for a
given piece of software is placed on an iLok, you
can use the iLok to authorize that software on
any computer.
Authorizing Downloaded Software
If you downloaded software from the Avid Store
(http://shop.avid.com), you authorize it by
downloading a license from iLok.com to an
iLok.
Authorizing Boxed Versions ofSoftware
If you purchased a boxed version of software, it
comes with an Activation Code (on the included
Activation Card).
To authorize software using an Activation Code:
1 If you do not have an iLok.com account, visit
www.iLok.com and sign up for an account.
2 Transfer the license for your software to youriLok.com account by doing the following:
• Visit www.avid.com/activation.
– and –
• Input your Activation Code (listed on your
Activation Card) and your iLok.com User
ID. Your iLok.com User ID is the name you
create for your iLok.com account.
3 Transfer the licenses from your iLok.com ac-
count to your iLok USB Smart Key by doing the
following:
• Insert the iLok into an available USB port
on your computer.
• Go to www.iLok.com and log in.
• Follow the on-screen instructions for trans-
ferring your licences to your iLok.
4 Launch Pro Tools.
5 If you have any unauthorized software
installed, you are prompted to authorize it.
Follow the on-screen instructions to complete
the authorization process.
iLok USB Smart Key
An iLok USB Smart Key is not supplied with
plug-ins or software options. You can use the
iLok included with certain Pro Tools systems(such as Pro Tools|HD-series systems), or
purchase one separately.
For more information, visit the iLok website
(www.iLok.com). For more information, visit the iLok website
(www.iLok.com).
8/17/2019 Access Music Indigo Guide
11/83
Chapter 2: Installation and Authorization 7
Removing Plug-Ins
If you need to remove a plug-in from your
Pro Tools system, follow the instructions belowfor your computer platform.
Mac OS X
To remove a plug-in:
1 Locate and open the Plug-Ins folder on your
Startup drive (Library/Application Support/Digidesign/Plug-Ins).
2 Do one of the following:
• Drag the plug-in to the Trash and empty
the Trash.
– or –
• Drag the plug-in to the Plug-Ins (Unused)folder.
Windows
To remove a plug-in:
1 Choose Start > Control Panel.
2 Under Programs, click Uninstall a program.
3 Select the plug-in from the list of installed ap-
plications.
4 Click Uninstall.
5 Follow the on-screen instructions to remove
the plug-in.
Configuring MIDI
To play Virus Indigo using a MIDI keyboard con-
troller, or to adjust its controls using a MIDI con-trol surface, you must first configure Pro Tools
for MIDI.
See your Pro Tools|HD User Guide for more
information on configuring MIDI inter-
faces, MIDI devices, and your operating sys-
tem (Mac or Windows) for MIDI operation.
8/17/2019 Access Music Indigo Guide
12/83
Access Music Virus Indigo Plug-In Guide8
8/17/2019 Access Music Indigo Guide
13/83
Chapter 3: Virus Indigo Controls 9
chapter 3
Virus Indigo Controls
Virus Indigo has over 180 different controls for
generating and modifying sounds. This chapter
explains each of these and their use.
A Synthesis Overview
Analog synthesis is often referred to as subtrac-
tive synthesis because of the way that sounds are
created and modified.
Typically, a waveform generated by an oscillator
is fed through a series of modules that change
the waveform’s frequency, harmonic content,
and amplitude, and thus its sound character.
Much of the modification is done by filtering
the sound, hence the term subtractive.
The sounds themselves are often referred to as
patches because the earliest synthesizers used
patch cords to interconnect the various sound
processing modules.
The most common modules or sonic building
blocks in a synthesizer are:
Oscillators These produce the raw waveform
material of a sound, which can then be modi-
fied. The most common waveforms are sine, tri-
angle, sawtooth, and square waves. Virus Indigo
generates many other types of waveforms as
well. (See Appendix C, “Virus Indigo OscillatorWaveforms”for a list of Virus Indigo wave-
forms.)
Filters Remove or emphasize certain frequencies
or harmonics in the waveform. The most com-
mon filter type is a low-pass filter. This removes
high frequencies and passes lower frequencies.
Other filter types are high-pass, band-pass, andband reject (or notch filter ). Virus Indigo pro-
vides all of these.
Envelope Generators Give shape to the volume,
pitch, filter cut-off, and other parameters of a
sound each time a note is played. Envelope gen-
erators typically provide control over attack, de-
cay, sustain, and release.
LFOs (Low Frequency Oscillators) Generate low
frequency waveforms that can be used to
change or modulate pitch, filter cutoff, volume,
and many other parameters. The most common
LFO waveforms are sine, triangle, and square
waves.
8/17/2019 Access Music Indigo Guide
14/83
Access Music Virus Indigo Plug-In Guide10
Viewing Pages
Virus Indigo controls are grouped by function
onto seven different pages:
Easy Has controls for some of the most com-
monly edited synthesizer parameters including
oscillator volume, filter frequency and reso-
nance, amplifier envelope attack and decay, and
effects.
Osc Has controls for the oscillators, noise gener-ator, frequency modulator, and ring modulator.
Filters/Env Has controls for the filters and enve-
lope generators.
LFO Has controls for the low frequency oscilla-
tors (LFOs).
FX-1 Has controls for the phaser, chorus, delay,
reverb, distortion, and ring modulation.
FX-2/Global Has controls for the vocoder, arpeg-
giator, envelope follower, audio input, and glo-
bal controls for tuning, key mode, pitch bend,
unison, and input mode.
ModMatrix Has controls for routing the sources,
destinations, and amount of modulation in a
patch.
To view a particular Virus Indigo page:
1 Open the Inserts/Send Editor for Virus Indigo.
2 At the upper left of the Virus Indigo plug-in,click the name of the page you want to view.
Adjusting Plug-In Parameters
You can adjust plug-in controls by dragging the
control’s slider or knob, or by typing a value intothe control’s text box. Additionally, some plug-
ins have switches that can be enabled by click-
ing on them.
To adjust a plug-in control:
1 Begin audio playback so that you can hear the
control changes in real time.
2 Adjust the controls of the plug-in for the effect
you want. Refer to “Editing Parameters Using a
Mouse” on page 10 and “Editing Parameters Us-
ing a Computer Keyboard” on page 11.
Closing the plug-in will save the most recent
changes.
Editing Parameters Using a Mouse
You can adjust rotary controls by dragging hori-
zontally or vertically. Parameter values increase
as you drag upward or to the right, and decrease
as you drag downward or to the left.
Selecting a page
Dragging a knob vertically
Dragging a knob horizontally
8/17/2019 Access Music Indigo Guide
15/83
Chapter 3: Virus Indigo Controls 11
Keyboard Shortcuts
For finer adjustments, Command-drag (Mac)
or Control-drag (Windows) the control.
To return a control to its default value, Op-tion-click (Mac) or Alt-click (Windows) the con-
trol.
Editing Parameters Using a Computer
Keyboard
Some controls have text boxes that display the
current value of the parameter. You can edit the
numeric value of a parameter with your com-
puter keyboard.
If multiple plug-in windows are open, Tab and
keyboard entry remain focused on the plug-in
that is the target window.
To change control values with a computer
keyboard:
1 Click the text box corresponding to the con-
trol that you want to adjust.
2 Change the value by doing the following:
• To increase a value, press the Up Arrow onyour keyboard. To decrease a value, press
the Down Arrow on your keyboard.
– or –
• Type the desired value.
3 Do one of the following:
• Press Enter on the numeric keyboard to in-
put the value and remain in keyboard edit-
ing mode.
– or –
• Press Return on the alpha keyboard (Mac)
or Enter (Windows) to enter the value and
leave keyboard editing mode.
Editing Parameters Using a Scroll
Wheel
Some controls have text boxes that display the
current value of the parameter. You can edit the
numeric value of a parameter using a scroll
wheel.
To change control values using a scroll wheel:
1 Click the text box corresponding to the con-
trol that you want to adjust.
2 To increase a value, scroll up with the scroll
wheel. To decrease a value, scroll down with thescroll wheel.
Toggling Switches
To toggle a switch:
Click the switch.
Selecting a text box for editing
In fields that support values in kilohertz,
typing “k” after a number value will multi- ply the value by 1,000. For example, type
“8k” to enter a value of 8,000.
To move forward through the different con-
trol fields, press the Tab key. To move back-
ward, press Shift+Tab.
8/17/2019 Access Music Indigo Guide
16/83
Access Music Virus Indigo Plug-In Guide12
The Easy Page
The Easy page gives you quick access to the most
commonly edited synthesizer parameters, in-cluding oscillator volume, filter frequency and
resonance, amplifier envelope attack and decay,
and effects. Use this page when you want to
quickly tweak a sound without getting in too
deep with more subtle parameters.
Osc Volume Controls the overall volume of os-
cillators 1, 2, and 3.
Sub Volume Controls the overall volume of thesub oscillator.
Ring Modulator Controls the overall volume of
the ring modulator (Osc page).
Amp Attack Controls how long it takes for the
amplitude (volume) envelope to reach its maxi-
mum level when a note is first played. Highervalues produce softer, slower attacks.
Amp Decay Controls how long it takes for the
amplitude envelope to fall from its peak level to
the sustain level.
Chorus Mix Controls how much chorus effect is
mixed with the patch.
Phaser Mix Controls how much phase shifter ef-
fect is mixed with the patch.
Send Controls how much delay and reverb ef-
fects are mixed with the patch.
Cutoff Specifies the filter cutoff frequency of
both filter 1 and filter 2. Depending on the filter
mode, frequencies that are above, below, above
and below, or around the cutoff frequency are
removed.
Resonance Controls how much frequenciesnear the cutoff of filter 1 and 2 are emphasized,
and how much those that are farther away are
suppressed. Higher resonance settings add a
characteristically ringing, nasal quality to
sounds.
The Osc Page
The Osc page has controls for the various tone
generators of the Virus Indigo, including the os-
cillators, noise generator, frequency modulator,
and ring modulator.
Osc 1
Use the controls in the Osc 1 section to select
the waveshape and other parameters ofoscillator 1.
Easy page
Osc page
8/17/2019 Access Music Indigo Guide
17/83
Chapter 3: Virus Indigo Controls 13
Shape Modifies the waveshape selected with the
Wave Select control. At a Shape setting of 0, the
oscillator produces purely the waveshape se-
lected with Wave Select.
Increasing the Shape value from 1–63 adds pro-
gressively more sawtooth to the selected wave-
shape until, at a setting of 64, the oscillator pro-
duces a pure sawtooth wave.
Increasing the Shape value from 65–126 adds
progressively more square wave to the sawtooth
wave until, at a setting of 127, the oscillator pro-
duces a pure square wave.
Wave Sel Selects among 64 preset waveshapes,
including sine, triangle, and many more com-
plex waveshapes.
PW When a square wave is produced by the os-
cillator, the PW (pulse width) knob determines
the pulse width, and thus sound character of the
square wave.
The control range is from 0–127. At 0, the pulse
width is 50% (perfectly square). At 127, the
pulse width is 0% (inaudible).
Semitone Transposes the pitch of the oscillator
up or down in semitones (half-steps). The con-
trol range is from –48 to +48 (four octaves up or
down). Use this feature to tune the oscillator toan interval such as a perfect fifth for interesting
tonal effects.
Key Follow Controls how MIDI notes affect oscil-
lator pitch. At its default setting of +32, playing
a 1-octave scale on a MIDI keyboard controller
produces a normal 1-octave pitch change.
At a setting of +63, playing a 1-octave scale
transposes the pitch upwards by two octaves
(producing a whole tone scale).
At +16, playing a 2-octave scale transposes thepitch upwards by one octave (producing a quar-
ter tone scale). Negative values transpose pitch
downward. At a setting of 0, MIDI notes do not
affect pitch.
C3 (MIDI note number 60) is the starting point
or base note.
Osc 2
Use the controls in the Osc 2 section to select
the waveshape and other parameters of
oscillator 2.
ShapeSee the description for Osc 1.
Wave Sel See the description for Osc 1.
PW See the description for Osc 1.
Semitone See the description for Osc 1.
Detune Detunes the pitch of oscillator 2 relative
to oscillator 1 and 3. Detuning helps animate
and thicken sounds.
Key Follow See the description for Osc 1.
Sync Switches phase synchronization of
oscillator 2 to oscillator 1 on or off. Turning
Sync on and varying the pitch of oscillator 2 cre-
ates unique, hard-edged timbral effects.
FM Amount Controls how much oscillator 2 is
frequency-modulated by oscillator 1. Depend-
ing on the interval between the oscillators and
the amount of frequency modulation applied,
you can greatly increase the harmonic complex-
ity of a sound with FM. Use this with the Sync
control to enhance harmonic complexity evenmore.
See Appendix C, “Virus Indigo Oscillator
Waveforms”for a list of the 64 preset oscil-
lator waveshapes.
8/17/2019 Access Music Indigo Guide
18/83
Access Music Virus Indigo Plug-In Guide14
FM Mode Selects the modulator for oscillator 2.
Choices are:
• PosTri: frequency modulates oscillator 2 with
a positive triangle waveform generated by os-cillator 1.
• Tri: frequency modulates oscillator 2 with a
triangle waveform generated by oscillator 1.
• Wave: frequency modulates oscillator 2 with
the waveform currently selected on
oscillator 1.
• Noise: frequency modulates oscillator 2 with
the noise generator.
• Input: frequency modulates oscillator 2 with
the audio of the track on which the Indigo
plug-in is currently inserted. If the audio is a
stereo signal, only the left channel is used. If
there is no audio signal on the track, no mod-
ulation is applied.
Env FM Controls how much the filter envelope
affects frequency modulation. Use this to create
FM-based timbre-change effects that vary over
time.
Env Osc 2 Controls how much oscillator 2 is
pitch-modulated by the filter envelope. Use thisto create pitch-change effects that vary over
time.
Phase Init Changes the initial phase relation-
ship between oscillator 1 and oscillator 2 at the
start of a note. Set to 0, both oscillators oscillate
freely, as in a conventional analog synthesizer.
Set to 1 and higher, oscillator 1 maintains a
phase angle of 0, while the phase of oscillator 2
shifts increasingly at higher values. Use this to
enhance drum and percussion sounds.
Osc 3
Use the controls in the Osc 3 section to select
the waveshape and other parameters of
oscillator 3.
Mode Selects among 64 preset waveshapes, in-
cluding sine, triangle, and many more complex
waveshapes.
Semitone Transposes the pitch of the oscillator
up or down in semitones (half-steps). The con-
trol range is from –48 to +48 (four octaves up or
down). Use this feature to tune the oscillator to
an interval such as a perfect fifth for interesting
tonal effects.
Detune Detunes the pitch of oscillator 3 relative
to oscillator 1 and 2. Detuning helps animate
and thicken sounds.
Sub/Noise
Use the sub oscillator to increase the weight of asound by adding a tone an octave below the
pitch of oscillator 1.
Use the noise generator to add unpitched white
or pink noise to a sound.
Sub Shape Selects the waveshape of the sub-os-
cillator, triangle or square.
Noise Color Varies the color of the noise pro-
duced by the noise generator from a high-fre-
quency “white noise” effect at higher values to a
darker low-frequency “pink noise” effect at
lower values.
See Appendix C, “Virus Indigo Oscillator
Waveforms”for a list of the 64 preset oscil-
lator waveshapes.
8/17/2019 Access Music Indigo Guide
19/83
Chapter 3: Virus Indigo Controls 15
Velocity Mod
Use the controls in the Velocity Mod section to
add touch-sensitive control over the timbre of a
Virus Indigo patch. Control waveshape, pulsewidth, FM amount, volume, and panning by
playing harder or softer.
Osc 1 Controls how much MIDI note velocity
affects the waveshape of oscillator 1. With posi-
tive values, the harder a note is played, the more
the waveshape varies from the current setting of
the Shape parameter. With negative values, the
harder a note is played, the less the waveshape
varies from the current setting of the Shape pa-
rameter.
Osc 2 Controls how much MIDI note velocity
affects the waveshape of oscillator 2. With posi-
tive values, the harder a note is played, the more
the waveshape varies from the current setting of
the Shape parameter. With negative values, the
harder a note is played, the less the waveshape
varies from the current setting of the Shape pa-
rameter.
PW Controls how much MIDI note velocity af-
fects pulse width of square waves produced byoscillator 1 or 2. With positive values, the
harder a note is played, the more the pulse
width varies from the current pulse width set-
ting. With negative values, the harder a note is
played, the less pulse width varies from the cur-
rent pulse width setting.
FM Controls how much MIDI note velocity af-fects frequency modulation. With positive val-
ues, the harder a note is played, the more fre-
quency modulation occurs. With negative
values, the harder a note is played, the less fre-
quency modulation occurs.
Vol Controls how much MIDI note velocity af-
fects volume. With positive values, the harder a
note is played, the louder it is. With negative
values, the harder a note is played, the softer it
is. The Patch Vol parameter sets the maximum
volume value.
Pan Controls how much MIDI note velocity af-
fects panning. To use this feature, you must use
Virus Indigo as a stereo insert.
With positive values, the harder a note is played,
the more it is panned to the right in relation to
its current pan position as set by the Pan con-
trol. With negative values, the harder a note is
played, the wider it is panned to the left in rela-
tion to its current pan position as set by the Pan
control.
Unison
In Unison mode, two or more voices can be
combined or stacked for each note played. This
produces a much thicker, wider sound, particu-
larly when stereo separation of the voices is in-
creased using the Pan Spread control.
Mode Turns unison mode on or off, and also
specifies the number of voices that can be used.
Up to 16 voices can be stacked together to
thicken or add weight to a patch.
Detune Detunes the unison voices to further
thicken their sound.
Pan Spread Sets the spread of unison voices in
the stereo field. Virus Indigo must be used in ste-
reo for this to have an effect.
Because Unison uses two or more voices for
each note played, polyphony is significantly
reduced.
8/17/2019 Access Music Indigo Guide
20/83
Access Music Virus Indigo Plug-In Guide16
LFO Phase Shifts the phase of the LFOs applied
to unison voices. This greatly enlivens modula-
tion effects. A setting of –64 is equal to –180 de-
grees of LFO phase offset. A setting of +63 is
equal to +177 degrees of LFO phase offset.
Punch
Intensity Adds a percussive snap effect to sounds
with short attack envelopes.
Mixer
Use the controls in the Mixer section to balance
the different tone generators in a Virus Indigo
patch.
Osc 1/2 Bal Controls the volume of the two os-
cillators in relation to each other. At –64 only
oscillator 1 is audible. At +63, only oscillator 2 is
audible. At 0, both are equally audible.
Osc 3 Vol Controls the overall volume of oscilla-
tor 3. Use it to adjust oscillator 3 volume in rela-
tion to the oscillator 1 and 2 as well as the noise
generator or ring modulator. This also controls
the oscillator’s input level to the Vocoder and
filter Saturation intensity.
Sub Vol Controls the volume of the sub-oscilla-
tor. Use the sub-oscillator to add weight to a
sound.
Osc Vol Controls the overall volume of both os-
cillators and the sub-oscillator. Use it to adjust
oscillator volume in relation to the noise gener-
ator or ring modulator. This also controls the os-
cillator’s input level to the Vocoder and filter
Saturation intensity. If Virus Indigo is set to In-
put mode, Osc Vol controls the audio signal's in-
put level.
Noise Vol Controls the volume of the white
noise generator. Use the noise generator to cre-
ate non-pitched sounds such as drums and
wind, or to add texture to percussive timbres.
Pan When Virus Indigo is used as a stereo insert,
this determines the position of a sound in the
stereo field.
Patch Vol Controls the overall volume level of a
sound. Use it to boost the level of sounds that
lack volume or to reduce the level of sounds that
are too loud.
Ring Vol Controls the volume of the ring modu-
lator. The ring modulator multiplies the ampli-
tudes of the two oscillators to create complex
enharmonic overtones. Use the ring modulator
to create timbres with a unique metallic charac-
ter. Set both oscillators to a sine wave for bell-
like timbres.
FX Send Controls the send level that is fed into
the delay or reverb effect. Available signal level
is determined by the Patch Vol control, making
this a post-fader control. Set from 0–99, it func-
tions as a send level control. Set from 100–127,
it acts as a direct/effect control. At 127 the signalis 100% wet.
The Filter/Env Page
The Filter/Envelope page has controls for the
two filters and two envelope generators. To a
large degree, these determine the overall sound
of a Virus Indigo patch.
Each filter normally operates with 2 poles, but
filter 1 can also operate with 4 poles for a com-
bined slope of 36 dB per octave. This gives Virus
Indigo a uniquely punchy sound.
8/17/2019 Access Music Indigo Guide
21/83
Chapter 3: Virus Indigo Controls 17
The two Virus Indigo filters can be used:
In series, where sound is processed first by fil-
ter 1, then by filter 2.
In parallel, where sound is processed by eachfilter independently.
Split, where the filters operate in parallel and
receive independent input signals whose stereo
spread can adjusted with the Pan Spread control
(in the Unison section of the Misc page).
Global
Use the controls in the Global section to control
the signal routing through the filters (series orparallel) and the amount of saturation (the
amount of overtones) applied between the fil-
ters.
Saturation Saturation selects the amount of
overtones added to the filtered signal through
the use of distortion. Choices are: Off, Light
Soft, Mid, Hard, Digital, and Shaper.
Because saturation is added between the two fil-
ter stages, a saturated sound can be filtered by
filter 2.
Saturation character is strongly influenced by
oscillator volume, waveshape, and filter reso-
nance.
Osc Vol Controls the output level of oscillators 1
and 2 fed into the filter. Values above zero let
you add up to 12 dB of additional gain to the
saturation, without increasing the overall patch
volume.
Filter Routing Selects one of four different filter
routing options for operating the filters in series
or parallel:
SER4: The filters operate in series with two
poles each, for a total of four poles and a 24 dB
per octave slope.
SER6: The filters operate in series. Filter 1 has
four poles and filter 2 has two poles, for a total of
six poles and a 36 dB per octave slope.
PAR4: The filters operate in parallel with two
poles each.
SPLIT: The filters operate in parallel with two
poles each. They receive independent input sig-
nals whose stereo spread can be specified with
the Pan Spread control.
Filter Balance Controls the balance between the
output levels of filter 1 and 2.
Filter/Env page
Virus Indigo filter routing choices
SER4
osc 1osc 2sub-osc
filter 1 (12dB)
noise
saturation filter 2 (24dB)
SER6osc 1osc 2sub-osc filter 1 (24dB)
noise
saturation filter 2 (12dB)
PARALLEL
osc 1osc 2sub-osc
filter 1 (12dB)
noisefilter 2 (12dB)
saturation
SPLIT
osc 1
sub osc
osc 2noise
filter 1 (12dB)
filter 2 (12dB)
saturation
8/17/2019 Access Music Indigo Guide
22/83
Access Music Virus Indigo Plug-In Guide18
Filter 1
Use the controls in the filter 1 section to select
the filter type and other characteristics of filter
1.
Mode Selects one of 4 different filter types:
• low-pass: removes frequencies above the cut-
off frequency
• high-pass: removes frequencies below the cut-
off frequency
• band-pass: removes frequencies above and be-
low the cutoff frequency, leaving a narrow
band of mid-range frequencies
• band-stop: removes a narrow band of frequen-
cies at the cutoff frequency
Cutoff Specifies the filter cutoff frequency. De-
pending on the filter mode, frequencies that areabove, below, above and below, or around the
cutoff frequency are removed.
Link (Cutoff) When enabled, links the Cutoff
control of filter 2 to filter 1 so that both can be
adjusted in tandem. The Cutoff control of filter
2 then controls the offset to filter one.
Resonance Controls how much frequencies
near the cutoff are emphasized, and how much
those that are farther away are suppressed.
Higher resonance settings add a characteristi-
cally ringing, nasal quality to sounds.
Env Amt Controls how much the filter envelope
affects the cutoff frequency. Higher envelopesettings cause the filter to open wider.
Key Follow Controls how much MIDI note num-
bers affect filter cutoff frequency. Positive values
cause the filter to open wider the higher the
note played. Negative values have the opposite
effect.
Reso Vel Controls how MIDI key velocity affects
filter resonance. With positive values, the
harder a key is played, the greater the amount of
filter resonance applied. Negative values have
the opposite effect.
Env Vel Controls how MIDI key velocity affects
filter envelope. With positive values, the harder
a key is played, the wider the filter envelope
open the filter. Negative values have the oppo-
site effect.
Env Polarity Selects a positive or negative polar-
ity for the Envelope Amount parameter. Use this
to create unique filter envelope effects.
Link (Resonance, Envelope Amount, Key Follow)
When enabled, links the Resonance, Envelope,
and Key Follow controls of filter 2 to filter 1 so
that both can be adjusted in tandem.
Key Base Sets the key base or starting point for
the Key Follow parameter. Filter tracking occurs
in relation to the MIDI note number selected
here. Set the Key Base by typing a MIDI note
number in the text box or by clicking the button
and playing a key on the on-screen keyboard or
a MIDI keyboard controller.
8/17/2019 Access Music Indigo Guide
23/83
Chapter 3: Virus Indigo Controls 19
Filter 2
Use the controls in the filter 2 section to select
the type and other characteristics of filter 2.
Mode See the description for filter 1.
Cutoff See the description for filter 1.
Resonance See the description for filter 1.
Envelope See the description for filter 1.
Key Follow See the description for filter 1.
Reso Vel See the description for filter 1.
Env Vel See the description for filter 1.
Env Pol See the description for filter 1.
Filter Envelope
Use the filter envelope to control how the filter
responds when you play and release notes.
Attack Controls how long it takes for the enve-
lope to reach its maximum level when a note is
first played. Higher values produce softer, slower
attacks.
Decay Controls how long it takes for the enve-
lope to fall from its peak level to the sustain
level.
Sustain Controls the level at which the envelope
remains after the end of the decay phase. The
duration of the sustain phase is set with the
Time parameter.
Time Controls the duration of the sustain phase.
When set to 0, the sustain level remains con-
stant as long as a note is held.
Negative values cause the sustain level to dropoff toward zero. The higher the negative value,
the faster the drop off.
Positive values cause the sustain level to rise to-
ward its maximum. The higher the positive
value, the faster the rise.
Release Controls the rate at which the volumeof the envelope decreases after a note is released.
The higher the Release value, the longer it takes
for the envelope to fall from the sustain level to
zero.
Amplifier Envelope
Use the amplifier envelope to control how the
volume characteristics of a patch respond when
you play and release notes.
Attack See the description for Filter Envelope.
Decay See the description for Filter Envelope.
Sustain See the description for Filter Envelope.
Time See the description for Filter Envelope.
Release See the description for Filter Envelope
8/17/2019 Access Music Indigo Guide
24/83
Access Music Virus Indigo Plug-In Guide20
The LFO Page
The LFO page has controls for the 3 low fre-
quency oscillators. These are typically used tomodulate oscillator pitch, filter cutoff fre-
quency, pulse width, and many other parame-
ters.
LFO 1
Use the controls in the LFO 1 section to select
the waveshape, rate, characteristics, and routing
of LFO 1.
Rate Selects the rate of the LFO. Using the Clockcontrol overrides this control.
Clock Selects a beat-based LFO rate. Choices
range from 1/64 to 4/1. Using the Clock control
overrides the Rate control. The LFO clock can be
synchronized to MIDI Beat Clock. See “Synchro-
nizing LFO Clock to MIDI Beat Clock” on
page 47 for more information.
Shape Selects the waveshape of the low fre-
quency oscillator. Each produces a uniquely dif-
ferent effect. Choices are:
• sine
• triangle
• sawtooth
• square
• sample & hold (random)
• sample & glide (random with portamento)
• oscillator waveform number. This selects
one of the many different waveshapes(3–64) produced by the main oscillators.
Contour Controls the phase of the triangle wave
by adjusting the ratio of length between its up
ramp and down ramp. When set to 0, the trian-
gle wave goes through its full wave cycle. At –64,
only the downward half of the wave cycle is gen-
erated, producing a downward sawtooth wave.
At +63, only the upward half of the wave cycle is
generated, producing an upward sawtooth
wave.
Env Mode When enabled, the LFO generates a
single wave cycle at the start of a note only, then
stops. Use this to generate a one-time modula-
tion envelope in the selected waveshape.
Key Follow Controls how much LFO speed is af-
fected by MIDI note number. Playing higher
notes increases LFO speed. Playing lower notes
decreases LFO speed.
Key Trig Controls the initial phase of the LFO
wave cycle when a key is played. When set to
Off, the LFO is not triggered.
LFO Mode When enabled, each voice played
triggers the LFO individually. When disabled, all
voices have the same LFO phase, making modu-
lation effects more pronounced.
LFO page
8/17/2019 Access Music Indigo Guide
25/83
Chapter 3: Virus Indigo Controls 21
Osc 1 Controls how much the LFO affects the
pitch of oscillator 1. Negative values invert the
LFO waveform’s effect.
Osc 2 Controls how much the LFO affects thepitch of oscillator 2. Negative values invert the
LFO waveform’s effect.
Link (Osc 1 & Osc 2) When selected, sets
oscillator 1 and oscillator 2 modulation to an
identical amount.
PW 1+2 Controls how much the LFO affects thepulse width of square waves generated by oscil-
lators 1 and 2. Negative values invert the LFO
waveform’s effect.
Reso 1+2 Controls how much the LFO affects
the resonance of filters 1 and 2. Negative values
invert the LFO waveform’s effect.
Assign Amt This controls the amount of modu-
lation applied to the selected LFO destination.
Negative values invert the LFO waveform’s ef-
fect.
Assign Destination Selects an additional modu-
lation destination for LFO 1.
Filter Gain Controls how much the LFO affects
input gain to the filter. This can be used to cre-
ate tremolo-like effects. Negative values invert
the LFO waveform’s effect.
LFO 2
Use the controls in the LFO 2 section to select
the waveshape, rate, characteristics, and routing
of LFO 2.
Rate See the description for LFO 1.
Clock See the description for LFO 1.
Shape See the description for LFO 1.
Contour See the description for LFO 1.
Env Mode See the description for LFO 1.
LFO Mode See the description for LFO 1.
Key Follow See the description for LFO 1.
Filter 1 This controls how much the LFO affects
the cutoff frequency of filter 1. Negative values
invert the LFO waveform’s effect.
Filter 2 This controls how much the LFO affects
the cutoff frequency of filter 2. Negative values
invert the LFO waveform’s effect.
Link (Filter 1 & Filter 2) When selected, sets fil-
ter 1 and filter 2 modulation to an identical
amount.
Shape 1+2 This controls how much the LFO af-
fects the Shape parameter of oscillators 1 and 2.
Negative values invert the LFO waveform’s ef-
fect.
Panorama Controls how much the LFO affects
patch panning. Virus Indigo must be used in ste-
reo for this to have an effect.
Assign Amount See the description for LFO 1.
Assign Destination Selects a modulation destina-
tion for LFO 2.
FM Amt Controls how much the LFO affects the
amount of frequency modulation. Negative val-ues invert the LFO waveform’s effect.
8/17/2019 Access Music Indigo Guide
26/83
Access Music Virus Indigo Plug-In Guide22
LFO 3
Use the controls in the LFO 3 section to select
the waveshape, rate, characteristics, and routing
of LFO 3.
Rate See the description for LFO 1.
Clock See the description for LFO 1.
Shape See the description for LFO 1.
Fade In Use this to delay the start of modulation
by LFO 3. When set to 127, LFO 3 modulation isdelayed for roughly five seconds after a note is
played.
LFO Mode See the description for LFO 1.
Key Follow See the description for LFO 1.
Assign Amount See the description for LFO 1.
Assign Destination See the description for LFO 1.
LFO Dest Selects a modulation destination for
LFO 3. The choices are:
• oscillator 1 frequency
• oscillator 2 frequency
• oscillator 1+2 frequency
• oscillator 1 pulse width
• oscillator 2 pulse width
• oscillator 1+2 pulse width
The FX-1 Page
The FX-1 page has controls for the phaser, sec-
ond ring modulator, chorus, patch distortion,
delay, and reverb.
FX Output ButtonThe effects on the FX-1 page are shared between
all eight Indigos of the same group. The FX Out-
put button determines which of the eight Indi-
gos of the group will output its selected effects.
Only one Indigo is allowed to output the effects
at any given time. Click on the FX button in one
of the eight Indigos to turn on its FX-1 controls(and automatically turn off the FX Output but-
ton in the other seven Indigos).
Analog Boost
Analog Boost adds weight to a patch by empha-
sizing a selected frequency range in the sound’s
tonal spectrum.
Intensity Controls the amount of emphasis
added to the signal.
Tune Sets the center frequency of the analog
boost effect.
FX-1 page
8/17/2019 Access Music Indigo Guide
27/83
Chapter 3: Virus Indigo Controls 23
Ring Mod
Ring Mod provides a second ring modulator (in
addition to the ring modulator on the Osc page)
that you can use to modulate audio input sig-nals. This ring modulator multiplies the ampli-
tude of an audio input signal with Indigo’s other
oscillators to create complex enharmonic over-
tones.
Mix Controls the amount of ring modulation
from ring modulator 2 added to the patch.
Phaser
Use the controls in this section to set the char-
acter and amount of phasing. Phasing animates
sounds with a sweeping, swirling effect by add-
ing a phase-shifted copy of an audio signal to it-
self. You can use phasing to convert a mono
patch to stereo.
Mix Controls the balance between the drysource signal and the phasing effect. A setting of
127 is 100% wet.
Rate Controls the rate of the phasing effect.
Depth Controls the intensity of the phasing ef-
fect.
Frequency Controls the frequency of the
phaser’s all-pass filter. Lower settings produce
more radical phasing effects.
Stages Selects the number of filter stages (filter
poles) of the phasing effect. The greater the
number of stages, the deeper and more complex
the phasing effect.
Spread Controls the bandwidth of the phasing
effect.
Feedback Controls feedback amount. Higher
feedback settings produce more intense phas-ing. Negative values can produce more intense
phasing.
Patch Distortion
Use the controls in this section to set the char-
acter and amount of harmonic distortion added
to the signal. Patch distortion character is
strongly influenced by oscillator volume, wave-
shape, and filter resonance.
Intensity Controls the amount of harmonic dis-
tortion added to the patch.
Curve Selects the character of the distortion
added to the patch. Choices are: Off, Light Soft,
Mid, Hard, Digital, and Shaper.
Chorus
Use the controls in this section to set the char-
acter and amount of chorusing. Chorusing
thickens and animates sounds by adding a de-layed, pitch-modulated copy of an audio signal
to itself. You can use chorusing to convert a
mono patch to stereo.
Mix Controls the balance between the dry
source signal and the chorus effect. A setting of
127 is 100% wet.
Rate Controls the rate of the chorus effect.
Depth Controls the intensity of the chorus ef-
fect.
Delay Time Controls the delay time of the cho-
rus effect. Longer delay times produce wider
chorusing. For flanging effects, use a delay timeof less than 10 ms.
See “Using Input Mode” on page 50 for
more information on using the key input to
route external signals to the ring modulator
(or Vocoder).
8/17/2019 Access Music Indigo Guide
28/83
Access Music Virus Indigo Plug-In Guide24
Feedback Controls feedback amount. Higher
feedback settings produce more intense chorus-
ing.
Shape Selects the waveshape for the ChorusLFO. Choices are sine, triangle, sawtooth,
square, sample & hold, or sample & glide. Each
produces a unique detuning effect.
Delay/Reverb
Use the controls in this section to set the char-
acter and amount of delay and reverb. Delay and
reverb can be used to add a sense of space and
depth to a sound. You can also use delay and re-
verb to convert a mono patch to stereo.
All Virus Indigo plug-ins sharing the same DSP
(Virus Indigo 1a, 1b, 1c, and so on) also share a
single delay. The plug-in designated as the “de-lay master” carries the delay signal. All other
plug-ins sharing the same DSP automatically
bus their delay sends to the delay master.
For a plug-in to be designated as the delay mas-
ter, its Effect button must be enabled (on the FX-
1 page).
Mode Selects the type of effect (reverb or delay)
used. Selecting one of the delay patterns pro-
duces a left channel-to-right channel rhythmicping-pong delay that modifies the currently set
delay time according to the given ratio.
An X+Y pattern selects a ping-pong delay where
the delay times are locked into sync with the
master clock. The Clock parameter sets the delay
tempo (not the Time parameter). The two num-
bers represent note increments and indicate the
delay for the left and right channels. Setting the
delay Clock parameter to sixteenth notes and se-
lecting 2+1 as the Mode, for example, produces a
ping-pong delay with a left channel delay of two
16 notes and right channel delay of one 16th
note. Used with the Feedback parameter, thesegroove-oriented algorithms produce interesting
rhythmic patterns and accents, particularly in
conjunction with the arpeggiator. Feedback is
generated using the left channel delay tap.
An X:Y pattern selects a ping-pong delay where
the left and right channels have a numeric ratio.
Selecting 2:1, for example, selects a ping-pong
delay with a left channel delay that is two times
as long as the right. Use the Time parameter to
set the longer channel of the ping-pong delay.
Feedback is generated using the longer channel
of the delay.
Send Controls the balance between the drysource signal and the delay effect. Signal level isdetermined by Patch Volume (Oscillator page),making this a post-fader control. Set from 0–99,it functions as a send level control. Set from100–127, it acts as a direct/effect control. At 127,the signal is 100% wet.
Effect Selects the plug-in as the master delay
control. The plug-in designated as the delay
master controls all delay parameters—with the
exception of Delay Send level—for all other
plug-ins sharing the same DSP.
Only one plug-in on a shared DSP can be the de-
lay master.
See “Sharing a Single Delay Among Multi-
ple Plug-Ins” on page 52 for more details on
using a shared delay and designating the
delay master.
If the delay Effect button is not enabled for
any plug-in sharing the same DSP, delay is
turned off.
8/17/2019 Access Music Indigo Guide
29/83
Chapter 3: Virus Indigo Controls 25
Delay
Time Controls the delay time in milliseconds.
Clock Selects a beat-based delay time. Choices
range from 1/64 to 3/4. Using the Clock control
overrides the Delay time control. The Delay
clock can be synchronized to MIDI Beat Clock.
See “Synchronizing LFO Clock to MIDI BeatClock” on page 47 for details.
Feedback Controls feedback amount. Higher
feedback settings produce more repetitions.
Coloration Controls the character of the delay
through the use of low-pass or high-pass filter-
ing. Settings from –64 to 0 apply a low-pass fil-ter, with lower settings attenuating more high
frequencies. Settings from 0 to +63 apply a high-
pass filter, with higher settings attenuating
more low frequencies.
Rate Controls the rate of delay modulation. Use
modulation to add chorusing or flanging effects
to the delayed signal.
Depth Controls the intensity of delay modula-
tion.
Shape Selects the waveshape for the Delay LFO.
Choices are sine, triangle, sawtooth, square,
sample & hold, or sample & glide. Each pro-
duces a unique detuning effect.
Reverb
Decay Time Controls the decay time of the re-
verb effect.
Type Selects the type and overall character of the
reverb effect. Choices include, Ambience, Small
Room, Large Room, and Hall.
Damping Controls the amount of damping (high
frequency attenuation) applied to the reverb
tail.
Coloration Controls the character of the reverb
through the use of low-pass or high-pass filter-
ing. Settings from –64 to 0 apply a low-pass fil-
ter, with lower settings attenuating more high
frequencies. Settings from 0 to +63 apply a high-
pass filter, with higher settings attenuating
more low frequencies.
Pre-delay Controls the amount of pre-delay
added to the reverb effect. Pre-delay can add a
greater sense of depth to reverb.
Clock Selects a beat-based reverb time. Choices
range from 1/64 to 3/4. Using the Clock control
overrides the delay Time control. The clock can
be synchronized to MIDI Beat Clock. See “Syn-chronizing LFO Clock to MIDI Beat Clock” on
page 47 for details.
Feedback Controls feedback amount. Higher
feedback settings produce more regeneration of
reverberant echoes.
On Pro Tools|HD systems, using a session
sample rate of 88.2/96 kHz reduces avail-
able delay time by half.
8/17/2019 Access Music Indigo Guide
30/83
Access Music Virus Indigo Plug-In Guide26
The FX-2/Global Page
This page has controls for the vocoder, arpeggia-
tor, external audio input, envelope follower,
and for global tuning, key mode, pitch bend,
and other parameters.
Vocoder
The Vocoder merges the frequencies of two dif-
ferent audio signals together to give one signal
(the carrier ) the texture of the other signal (the
modulator ).
The most common use for the Vocoder is tomake sounds “talk” by using an oscillator wave-
form as the carrier and a voice as the modulator.
Both signals are processed through a series of
band-pass filters. The amplitude characteristics
of the modulator signal (the voice) filter bands
are then applied to the carrier signal (the oscilla-
tor). The voice characteristics articulate the os-cillator’s harmonic content and overall sound.
You can then play the vocoded sound as you
would any Virus Indigo patch.
You are not limited to using an oscillator as a
carrier or a voice as a modulator. Any external
input can be used as a carrier, and any signal
bussed to Virus Indigo can be used as a modula-
tor.
Harmonically rich sounds typically make the
best carriers.
Mode Selects the source of the Vocoder’s carrier
signal. Choices are:
• Off, Vocoder is off.
• Osc, any tone generator in the Oscillator
page’s Mixer section
• Osc Hold, oscillator 1 and 2 waveforms,
with the last note held until the next note
is played
• Noise, the noise generator only
• Input, external audio input using the Key
Input
Center Freq Sets the center frequency of the
band–pass filters for both the modulator and
carrier signals.
Mod OffsetControls the amount of offset be-tween the carrier and modulator filter bands.
Mod Q Controls the resonance of the band-pass
filters for the modulator signal.
Mod Spread Controls the spread of the band-
pass filters for the modulator signal. This affects
the intelligibility of speech.
Car Q Controls the resonance of the band-pass
filters for the carrier signal.
Link When selected, the Link button sets Mod Q
and Carrier Q, and Mod Spread and Carrier
Spread to an identical amount.
FX-2/Global page
Using the Vocoder reduces voice polyphony.
Additionally, the Virus Indigo filters are notavailable since they are used for vocoding. If
you want to filter a vocoded sound, insert a
second Virus Indigo plug-in on the same
track and use its filters.
C S d C l h d f h b d I t
8/17/2019 Access Music Indigo Guide
31/83
Chapter 3: Virus Indigo Controls 27
Car Spread Controls the spread of the band-pass
filters for the carrier signal. This affects the intel-
ligibility of speech.
Spect Bal Controls the spectral balance betweenthe higher and lower frequencies of the vocoder
signal. This influences the overall character of
the vocoder and can be used to increase the in-
telligibility of speech.
Bands Controls the number of active filter
bands. The number of filter bands determines
the complexity and quality of the Vocoder. In-creasing the number of bands generally in-
creases the intelligibility of speech.
Attack Controls the attack time of the vocoder’senvelope follower. Longer attack times soften
the response of the vocoder and decrease the in-
telligibility of speech.
Release Controls the release time of the vo-
coder’s envelope follower. Longer release times
soften the response of the vocoder and decrease
the intelligibility of speech.
Source Bal Controls the mix between the carrier
signal and the input source. A setting of –64 is
100% carrier signal (the oscillators or noise gen-
erator). A setting of +63 is 100% modulator sig-
nal (the speech input). A setting of 0 is generally
best.
Input
Use the Input controls to pass an external audio
signal through Virus Indigo for processing. You
can shape the audio signal in many unique waysby applying filtering, filter saturation, chorus,
and delay effects, and modulation.
Mode Enables and disables external audio input.
Passing an audio signal through Virus Indigo fil-
ters, amplifiers, and effects can produce interest-
ing results.
In Dynamic input mode, the envelope gener-
ator is active and you must play MIDI notes to
pass audio through.
In Static input mode, the envelope generator
is not active and you don’t need to play MIDI
notes to pass audio through.
Input Meters Show input signal levels when ex-
ternal input mode or the Vocoder is used. If clip-
ping occurs, reduce the level of the external au-
dio.
Envelope Follower
Use the Envelope Follower to replace the filter
envelope with an envelope based on the dynam-ics of an external input signal.
With high filter Envelope Amount settings, the
Envelope Follower will produce automatic
“wah-wah” effects. Other parameters can also be
modulated with the Envelope Follower by using
the ModMatrix page and choosing Filter Enve-
lope as a modulation source.
Using a high number of bands reduces voice
polyphony. A Band setting of 32 can use up
to six voices of Virus Indigo polyphony.
See “Using the Vocoder” on page 49 for
more information on using the Vocoder.
Static input mode uses two Virus Indigovoices.
See“Using Virus Indigo as a Filter” on page 51 for more information on using ex-
ternal audio inputs.
Mode When selected enables the envelope fol Pit h
8/17/2019 Access Music Indigo Guide
32/83
Access Music Virus Indigo Plug-In Guide28
Mode When selected, enables the envelope fol-
lower. This mode requires that audio be routed
through the Virus Indigo plug-in, so you can use
this effect on one plug-in only per DSP.
Level Controls the envelope follower sustain
level and functions in the same way as the filter
envelope’s Sustain parameter.
Attack Controls the envelope follower attack
level and functions in the same way as the filter
envelope’s Attack parameter.
Release Controls the envelope follower release
level and functions in the same way as the filter
envelope’s Release parameter.
Global
Use the Global controls to set parameters used
by all Virus Indigo plug-ins in a session. Global
parameters are saved and recalled as part of a
session, not as part of a patch.
Tune Adjusts the tuning of all Virus Indigo plug-
ins in a session.
Tempo Sets the base clock speed used by the
LFOs, the Delay, and the Arpeggiator of all Virus
Indigo plug-ins in a session. The global Tempo
setting is overridden if you synchronize Virus
Indigo to MIDI Beat Clock.
Pitch
Use the controls in the Pitch section to specify
the overall detuning and key transposition of a
patch.
Transpose Transposes the pitch of a sound up to
four octaves up or down. The Up and Down but-
tons transpose pitch in 1–octave increments.
Octave Detunes the overall pitch of a sound up
or down in 12 semitone (one octave) intervals.
Detune Detunes the overall pitch of a sound in
semitones. Use it to detune a sound in relation
to other Virus Indigo sounds or Pro Tools tracks.
Pitch Wheel
Musicians bend the pitch of notes to add expres-
siveness to a performance. Use these controls toset the response of the Virus Indigo patch to
pitch bend information.
Scale Toggles between a linear or exponential
pitch bend curve.
With a linear curve, the pitch change is even
across the range of the pitch bend controller. With an exponential curve, the bend is gradual
at the beginning, and more radical toward the
end of the controller’s range. This permits a
wider range of performance, ranging from sub-
tle, manual vibrato, to guitar whammy bar-type
bends.
Bend Up Sets the upper pitch bend interval in
semitones.
Bend Down Sets the lower pitch bend interval in
semitones.
Link (Bend Up & Bend Down) When selected,
sets the Bend Up and Bend Down to the same
relative interval.
See “Using the Envelope Follower” on
page 51.
Patch Param High Key Sets the highest note to which the
8/17/2019 Access Music Indigo Guide
33/83
Chapter 3: Virus Indigo Controls 29
Patch Param
Ctrl Smooth Selects the type of smoothing ap-
plied to Virus Indigo controls when they are ad-
justed in real time. Smoothing eliminates zipper noise, an undesirable effect that occurs when pa-
rameter values are incrementally adjusted on
some digital devices.
Choices are:
• Off: No control smoothing.
• On: Smoothing is always on.
• Auto: Adaptive control smoothing.
Small control changes are smoothed, large
changes are not smoothed.
• Note: Smoothing is reset each time a note is
played.
Hold Pedal When selected, enables the use of a
hold (sustain) pedal to sustain notes after theyhave been released.
Note Steal Selects whether the patch is high or
low priority when note stealing occurs. Selecting
High helps prevent notes from being stolen. Se-
lecting Low lets notes be stolen when necessary.
Note stealing occurs when more than the 20
notes are played simultaneously among multi-
ple shared Virus Indigo plug-ins using the same
DSP.
Keyboard
Use the Keyboard section to set how the patch
responds to a MIDI keyboard controller.
Low Key Sets the lowest note to which the patch
will respond. If you play any note below the
specified low key, Virus Indigo will ignore it. Set
the Low Key by typing a MIDI note number or
clicking the button and playing a key on the on-
screen keyboard or a MIDI keyboard controller.
High Key Sets the highest note to which the
patch will respond. If you play any note above
the specified high key, Virus Indigo will ignore
it. Set the High Key by typing a MIDI note num-
ber or clicking the button and playing a key onthe on-screen keyboard or a MIDI keyboard con-
troller.
Mode Sets the polyphony and portamento re-
sponse of a patch. The choices are:
Poly: Virus Indigo responds polyphonically,
producing as many notes as are played simulta-neously (up to 40 on Pro Tools|HD Accel sys-
tems; up to 20 on Pro Tools|HD systems not
equipped with an HD Accel card).
Mono 1: Virus Indigo responds monophoni-
cally, producing a single note even if more than
one is played simultaneously. Playing legato re-
triggers the envelopes with every note. Porta-mento is always on.
Mono 2: Virus Indigo responds monophoni-
cally and retriggers the envelopes when you
play legato. Portamento is off when you play
staccato.
Mono 3: Virus Indigo responds monophoni-
cally, but does not retrigger the envelopes whenyou play legato. Portamento is always on.
Mono 4: Virus Indigo responds monophoni-
cally, but does not retrigger the envelopes when
you play legato. Portamento is off when you
play staccato.
Portamento Sets the amount of time it takes for
the pitch of one note to slide to the next note
played. The larger the interval between notes,
the more noticeable the effect.
Arpeggiator Hold When selected, the arpeggiator continues
8/17/2019 Access Music Indigo Guide
34/83
Access Music Virus Indigo Plug-In Guide30
Arpeggiator
The Arpeggiator plays the notes of a musical
chord in succession, across a selected octave
range, at a selected tempo. Use the controls inthis section to specify the Arpeggiator’s parame-
ters.
Mode This selects the arpeggiator mode. The op-
tions are:
• Off: arpeggiation is off.
• Up: notes are arpeggiated upward.
• Down: notes are arpeggiated downward.
• Up & Down: notes are arpeggiated upward
and downward.
• As Played: notes are repeated in the exact
order played.
• Random: shuffles the order of notes played.
• Chord: chords are repeated instead of sin-gle notes.
Pattern Selects among 64 different rhythmic
patterns for the arpeggiator. A setting of 0 sets
the arpeggiator to the pattern selected in the
Mode pop-up menu.
Note Length Controls the decay envelope ofnotes so that you can add a staccato or legato ef-
fect to arpeggiation.
Swing Adds a triplet-based, “shuffle” feel to ar-
peggiation.
Oct Range Selects the range of arpeggiation,
from 1 to 4 octaves.
Clock Selects a beat-based arpeggiation rate.
Choices range from 1/64 to 1/1. Using the Clock
control overrides the Rate control. The arpeggia-
tor clock can be synchronized to MIDI Beat
Clock. See “Synchronizing LFO Clock to MIDI
Beat Clock” on page 47 for more information.
Hold When selected, the arpeggiator continues
to play the most recently held notes even after
the keys have been released.
The ModMatrix Page
The ModMatrix page has controls for routing
the sources, destinations, and amount of modu-
lation in a patch. Three separate routing ma-
trixes let virtually any control source be routed
to virtually any Virus Indigo parameter.
Typical modulation routings include:
• Controlling filter cutoff frequency with the
mod wheel of a MIDI keyboard
• Controlling an oscillator’s waveshape with
a breath controller
• Controlling filter or amplifier envelope pa-
rameters with key velocity
• Controlling LFO frequency with a foot
pedal
ModMatrix page
Assign 1
8/17/2019 Access Music Indigo Guide
35/83
Chapter 3: Virus Indigo Controls 31
Assign 1
Source Selects the modulation control source.
Amount Sets the modulation amount.
Destination Selects the modulation destination.
Assign 2
Source Selects the modulation control source.
Amount 1 Sets the modulation amount for desti-
nation 1.
Amount 2 Sets the modulation amount for desti-
nation 2.
Destination 1 Selects modulation destination 1.
Destination 2 Selects modulation destination 2.
Assign 3
Source Selects the modulation control source.
Amount 1 Sets the modulation amount for desti-
nation 1.
Amount 2 Sets the modulation amount for desti-nation 2.
Amount 3 Sets the modulation amount for desti-
nation 3.
Destination 1 Selects modulation destination 1.
Destination 2Selects modulation destination 2
Destination 3 Selects modulation destination 3.
8/17/2019 Access Music Indigo Guide
36/83
Access Music Virus Indigo Plug-In Guide32
8/17/2019 Access Music Indigo Guide
37/83
Chapter 4: Automating Virus Indigo 33
chapter 4
Automating Virus Indigo
You can automate changes to Virus Indigo pa-
rameters in two ways:
• Using Pro Tools automation playlists
• Using MIDI
Using Automation Playlists
Pro Tools creates a separate playlist for each
plug-in parameter that you automate. Pro Tools
automation lets you record your interaction
with Virus Indigo parameters using a mouse or a
control surface (including M IDI control sur-
faces)
To enable plug-in parameters for automation:
1 Open the plug-in window for the plug-in you
want to automate.
2 Do one of the following:• Click the Automation Enable button in the
plug-in window.
– or –
• Command-Option-Control-click (Mac)
Control-Alt-Start-click (Windows) or the
Track View selector in the Edit window.
3 Choose the parameters to automate and clickAdd. If there are multiple plug-ins on the same
track, you can select from among these by click-
ing their buttons in the Inserts section of this di-
alog.
To avoid conflicting automation data, use
either automation playlists or Using MIDI
to automate Virus Indigo, but not both.
You can also use this keyboard shortcut toopen the Plug-In Automation dialog: Com-
mand-Option-Control-click (Mac) or Con-
trol-Alt-Start-click (Windows) any plug-in
parameter in the plug-in window, then
choose Open Automation Dialog from the
pop-up menu.
Selecting parameters to automate
4 Click OK to close the Plug-In Automation dia-Using MIDI
8/17/2019 Access Music Indigo Guide
38/83
Access Music Virus Indigo Plug-In Guide34
log.
.
To record automation:
1 In the Automation Enable window, make sure
that plug-in automation is write-enabled.
2 On the track with the Virus Indigo insert,
choose an automation mode. For an initial pass,
choose Auto Write.
3 Click Play to begin writing automation, and
move the controls you want to automate.
4 When you have finished, click Stop.
After the initial automation pass, you can write
additional automation to the track without
completely erasing the previous pass by choos-
ing Auto Touch mode or Auto Latch mode.
These modes add new automation only whenyou actually move the control for that parame-
ter.
Using MIDI
You can also automate Virus Indigo parameters
by mapping a MIDI control surface to a specific
Virus Indigo parameter and recording the con-
troller moves on an Instrument (or MIDI) track.
Because Virus Indigo has many more parameters
than there are MIDI Controller numbers, less-
frequently used Virus Indigo parameters are as-
signed Poly Pressure note numbers for automa-
tion purposes.
Automation for a Virus Indigo parameter as-
signed to a Poly Pressure note number can be
viewed and edited using the MIDI Event List.
To see the MIDI controller number or Poly Pressure
note number for a Virus Indigo parameter:
Command-Control-Option-click (Mac) or
Control-Alt-Start-click (Windows) the control.
As an alternative to using the Plug-In Auto-
mation window, you can enable individual plug-in parameters directly from the plug-in
window by Command-Option-Control-
clicking (Mac) or Control-Alt-Start-clicking
(Windows) the parameter ‘s text field or
control. See the Pro Tools Reference Guide for
more information.
Shortcut for enabling a Virus Indigo parameter forautomation
For more information on creating and edit-
ing automation, see the Pro Tools Reference
Guide.
Enable Control Smoothing (FX-2/Global
Page > Patch Param > CTRL Smooth > On)
before automating Virus Indigo parametersto avoid zipper noise and other audio arti-
facts.
The parameter’s MIDI Controller number or
P l P t b i i di t d i
System Exclusive Events
8/17/2019 Access Music Indigo Guide
39/83
Chapter 4: Automating Virus Indigo 35
Poly Pressure note number is indicated in paren-
theses. For example:
“c36” stands for MIDI Controller number 36
(osc volume)
“p56” stands for Poly Pressure notenumber 56 (filter 1 resonance velocity)
To automate a Virus Indigo parameter using MIDI:
1 Insert Virus Indigo on a mono or stereo track.
2 On the MIDI control surface, assign the MIDI
Controller number or Poly Pressure note num-
ber for the Virus Indigo parameter you want to
automate.
3 Create a new Instrument track, and insert the
Virus Indigo plug-in that you want to automate.
4 Do one of the following:
• Record enable the Instrument track, start
playback, and perform the automation on
the MIDI control surface.
– or –
• Use the Pencil tool to draw MIDI notes and
controller data.
While MIDI controller data is the most obvious
choice for Virus Indigo automation, Pro Tools
can also record System Exclusive (Sysex) events
to Instrument tracks. See the Pro Tools Reference
Guide for details on how to record and edit Sysex
events.
Viewing MIDI Automation
Pro Tools creates a separate playlist for each type
of automation you write. To view MIDI automa-
tion for a particular Virus Indigo parameter you
may need to add it to the Track Display Format
pop-up menu using the Add/Remove Controller
command.
To view MIDI automation for a Virus Indigoparameter:
1 In the Edit window, choose the controller that
you want to view.
2 If the desired controller does not appear in the
Track Display Format pop-up menu, select
Add/Remove Controller.
3 In the Automated MIDI Controllers dialog, lo-
cate the parameter by its MIDI Controller num-
ber and click Add, then OK .
4 Choose the newly-added automation type
from the Track Display Format selector of the In-
strument track.
Checking a parameter’s MIDI Controller number
Checking a parameter’s Poly Pressure note number
As an alternative to using an Instrument
track, you can use a combination of MIDI
and Auxiliary Input tracks. For more infor-
mation, see the Pro Tools Reference Guide.
For more information on editing automa-
tion, see the Pro Tools Reference Guide.
Using Virus Hardware as a
8/17/2019 Access Music Indigo Guide
40/83
Access Music Virus Indigo Plug-In Guide36
Using Virus Hardware as aControl Surface
If you own Access Music’s hardware version of
Virus Indigo, you can use it as a control surface
for adjusting Virus Indigo plug-in parameters.
Configuring Pro Tools for Using
Virus Hardware as a Contr
top related